T he intention of this website is to provide mainly visual evidence from sources such as rock art, religious iconography and mythological record that a large asteroid-meteor impact or possibly a series of strikes over a period of years has taken place in our near past. From the evidence presented here suggests at least one very large impact event has taken place in historical times or just prior to the establishment of early historical civilizations. As I am unable to ascertain whether we are dealing with multiple impact events I will treat the evidence as just a single impact event until such time that such permutations can be feasibly worked out.

I am certainly not the first to postulate such an impact occurrence in this time frame and surmise that religious and mythological evidence like the Great Flood legend sound suspiciously like the result of an ocean impact event, something other commentators have alluded to. There is now current strong opinion by some commentators that the Taurid meteorite showers the earth annually passes through, debris from the earlier disintegration of a large comet, was in olden times a shower of much larger meteor debris regularly causing Tunguska-like air explosions in ancient skies and I believe that some larger objects, specifically a very large asteroid-meteor from one of those Taurid meteorite showers impacted onto the earth in recorded historical memory.

I believe there is a plethora of visual impact evidence actually staring us in the face right now from a very large past impact but because the ancients misinterpreted the impact to be the work of a god or gods it is evidence that has been masked and camouflaged behind religious and mythological disguise. The actual timing of the impact or impacts and the various scientific and physical dynamics of a large impact event can only be rough guesstimates on my part at this stage and I will leave that to people more knowledgeable than I am in such matters to deduce and provide the answers to those mitigating factors. For that reason I will purposely generalize those aspects in this essay.

An Ocean Impact

The evidence points to a large ocean impact event. The evidence seems to suggest the most likely candidate for that past impact site was the Indian Ocean. In 2007 The Holocene impact working group announced the discovery of the 30 kilometer wide Burckle Crater south east of Madagascar in the southern Indian Ocean which they believed was caused by a comet impact around 2800-3000 bc. While this crater discovery seems to align with my supposition it is still not clear whether this was the specific large impact event my evidence suggests. A possible impact crater formed around 5000 years ago has been found in the Southern marshlands of Iraq although because of conflict and unrest there it still has not been researched and confirmed as a definite crater. If it is a crater these two impacts seem to suggest that a series of strikes of varying sizes, as mentioned before, has occurred over a relatively close period of time in our near past.

A rough guesstimate of the size of the object could have been between 1 and 3 kilometres in diameter. A 1 kilometre size impacting object would have released over 100,000 megatons of energy. A 3 kilometre wide object over 1,000,000 megatons of energy. The total energy of all explosives used in World War Two (including the Hiroshima and Nagasaki bombs) is estimated to have been 3 megatons of TNT.

The impact in degrees would have produced a groundshock. A superheated blast wave. An uplift of sea water into the sky and a corresponding deluge of water from the sky. A fallout of flaming debris and uplifted material. A tsunami wave. Caused severe weather conditions surrounding the impact area. Created an overspreading dust cloud. And perhaps triggered volcanic activity, earthquakes, and further tsunamis along slipping fault lines. Such severe impact commotion would be certainly noticed by the ancients living at the time.

Rock Art

I believe the first human recorded evidence of that near past impact event is to be found in rock art, in various petroglyph forms found around the world. The rock art image below is probably one of the single most widespread rock art figure forms consistently found around the world.

It looks like a human-like form with a head, a torso with upraised arms, bow-legs and a strangely overlong phallus and that it is a human form is how it is understandably currently interpreted by most commentators. Although human looking it is portrayed adopting a most unnatural stance. I would challenge the reader if he or she has ever seen anybody walk down the street in such a bow legged, upraised armed posture or even stand at rest in this unusual manner, so the question is why did ancient artists consistently portray the stance of this rock art figure form in this way? The fact that artists consistently drew this figure form with an extremely overlong phallus when there is no scientific evidence or historical record that the male phallus has ever been this long is another puzzling visual anomaly. The fact that this same image is found around the entire world presents the most puzzling anomaly of all.

The question is how did ancient artists living continents apart from each other with no contact with each other come up with virtually the same artistic rendering of rock art depiction. I could understand if one or two artists on different continents happened to arrive at the same upraised armed, bow legged figure visual configuration and treat it as coincidence but to find the exact same image reproduced everywhere by artists around the globe is frankly beyond coincidence. It should not happen. Something, some overriding factor common to those disparate artists living continents apart obviously determined and prompted its origination. That something was I believe a large asteroid impact.

With the first atom bomb detonations in 1945 mankind was able to view a very large explosion. The detonation of those first atomic bombs began with the appearance of a dome like structure. This was an effect of the explosion called a Wilson cloud. The leading detonation shock wave causes the air in front of it to momentarily cool causing the air to condensate and mist forming a dome shape around the initial detonation. The explosion fireball then rose up through the Wilson cloud structure, which then dissipated from sight, within the familiar mushroom cloud canopy leaving a column of smoke in its upward wake.

I am of the opinion that the same visual sequence of a detonation, eruption spectacle occurred at that past asteroid impact event. That the impact detonation began with an immense Wilson cloud , a huge dome structure appeared at that past ocean impact site and a gigantic mushroom cloud canopy then subsequently rose into the air atop a column of smoke. Such an explosive spectacle was obviously one of unfolding movement. I believe primitive ancient artists in an attempt to capture the unfolding movement of the eruption spectacle combined the two main explosive sequences, the initial Wilson cloud form and then the subsequent mushroom cloud eruption form into one artwork representation to visually show in one graphic depiction the sequence of explosion in its entirety.

The graphic interpretation of light and shadow

One must remember that ancient rock artists were essentially amateur artists and using the rugged, hard medium of a rock face as their ‘drawing board’ could not obviously produce over detailed representations of such an epochal eruption sight. With only meagre artistic ability their only recourse was to take that eruption sight and draw, etch it in a bare, minimalist artwork style using only a single line to record the eruption outline shape.

Important to the artistic interpretation of that eruption scene was the effect of light and shadow cast by the blazing fireball within the two sequences of the eruption spectacle.

So let us now take that combined eruption spectacle and schematise those visual elements with a single line to their barest graphic form.

The initial explosion creates a dome-like Wilson cloud form. The fireball within casts a shadow line around the outer dome silhouette shape and is drawn as a dome-like arc shape by the ancient rock artist.

The fireball then goes on to erupt up out of the top of the dome shaped Wilson cloud form, which dissipates from sight, and climbs up into the sky within a mushroom cloud canopy.

Because the blazing fireball within the mushroom cloud is rising up, it continually diffuses with light the top of the mushroom cloud canopy but conversely throws the underside of the cloud canopy into contrasted shadow. The rock artist draws the shadowed underside of the mushroom cloud as an upturned curve shape.

While the upward path of the eruption fireball within the two sequences of eruption would have been a dazzling sight the amateur ancient artist, working with only one dark colour, drew the path of the erupting fireball as one single dark vertical line which visually joined the two eruption sequences.

Now when we merge these three single line imagery elements of the combined eruption sight together as one artwork we have the composite schematised form on the right.

As the reader can see the single line schematization of the two stage eruption spectacle sequence to its barest graphic elements looks exactly like the upraised armed, bowlegged rock art form.

I believe then by a quirk of cosmic coincidence, a huge eruption spectacle I believe from a near past impacting asteroid, when schematised to its bare imagery elements, happens to coincidently look like a human figure form, albeit an upraised armed, bow legged form. A figure form that as explained is found around the world recorded as rock art.

If this is the case then it would explain why ancient rock artists consistently portrayed such an unusual and unnatural upraised armed and bowlegged stance. It would also explain the unusually overlong phallus depicted on such rock art. We could now realize it is not a phallus image at all but a single line representation of the upward path of the erupting fireball. That its human-like graphic form has effectively camouflaged a highly significant asteroid impact event from the comprehension of succeeding generations till this day because it has been mistakenly viewed as something so commonplace as to raise no suspicion to its actual real impact identity. As I have outlined its possible that the earth has suffered a series of quite large impacts from Taurid meteor storms over a very long period of time and that each time more or less the same schematised upraised armed, bow legged imagery has been interpreted from the impact eruption spectacle. That being the case the origins of this upraised armed , bow legged rock art image may stretch back thousands of years into the dim past while other rock art depictions of it are comparatively newer versions, depicted within a historical time frame after the most recent large impact event.

Rock art assimilated into religious iconography

Although from our modern day viewpoint all we see is a seemingly innocent looking piece of rock art graffiti its huge asteroid impact significance was unquestionably known by the ancients, obviously closer in time and circumstance to the latest large impact event.

The impact event obviously bewildered the terrified ancients. They had no knowledge of asteroids, of asteroid impacts, of how to recognise the effects of an asteroid impact event. Something completely out of their experience had taken place and so they struggled to place and fathom an understandable context on it. To their awestruck minds something had caused that impact commotion and so they, in a vacuum of scientific understanding, imagined a supernatural being, a god was responsible for the commotion. And to act as a visual focus of that imagined supernatural being they naturally turned to use the upraised armed, bow legged rock art form. A choice which made contextual sense for as explained its very form was an artistic visual schematisation of the eruption spectacle itself and so they used its eruption form significance as the template image for the projection of and visual depiction of their various gods, deities and different personas they believed responsible for the impact commotion. For the most part, although there were exceptions, the ancients discarded the bottom bow-legged shape and depicted their idols, gods and deities with only upraised armed postures, a posture then originally from upraised armed rock art depictions that derived from a mushroom cloud sight.

Early cultures effectively assimilated that upraised armed rock art image into their religious iconography, fleshed it out with humanistic visual characteristics and projected all manner of different deity personas onto it, both male and female. Significantly by projecting a deity persona onto it they effectively camouflaged its impact significance from the comprehension of later generations. Later generations only knew such deity imagery held great religious significance for their forbears and duly continued in religious custom to worship such impact disguised imagery.

The exact same upraised armed stance was also used by human worshippers in adoration of their up-raised armed deities and idol figurine shapes. This upraised armed stance is still used till this day in religious worship. The worshipper effectively is copycatting and action mimicking with his own body the mushroom cloud image of an asteroid impact, eruption spectacle.

In especially Sumerian and Egyptian art they turned upraised armed deities and worshippers side-on to each other, no doubt because more than one deity persona was projected onto the eruption cloud sight and they wanted to show such multiple deities interacting ‘face to face’ with each other.

As stated I believe the asteroid impacted into an ocean and the erupting mushroom cloud rose up from an ocean impact site. If a human worshipper is mimicking with his upraised arms the outline underline shape of the mushroom cloud canopy then his body, torso is the cloud column. We are all familiar in the Western world with the act of Baptism. A believer rises up from immersion in water with his hands held upraised in worship, the trunk of his body standing, with his lower body, legs in water. He is in effect action mimicking in microcosm with his body, the sight of the eruption sequence when the upraised armed, body like shape of the mushroom cloud rose up from the ocean.

The rock art schematised eruption figure form was also used as an ancillary religious object. The God Zeus is the chief god of Greek mythology. He is usually described in myth and depicted holding a thunderbolt. Below is a picture of Zeus holding his ‘thunderbolt’. It is immediately apparent that the ‘thunderbolt’ he holds is a small, handheld stylised visual replication of the up-raised armed, bow legged figure form originally derived from rock art. That being the case the thunderbolt he holds then is really a visual schematisation of an asteroid impact event.

While Zeus is famous for holding his ‘thunderbolt’ we can realise that the thunderbolt image he holds is by no means unique to him. Below we can see stylised versions of the same rock art image being held by other deities such as the Assyrian God Marduk, the Roman god Jupiter, the Phrygian goddess Cybele and even a version carried down into Medieval times.

The same image was also used as religious embellishment, as in Babylonian depiction above and on the bottom right depiction used as decoration on the side of an Egyptian coffer.

The trident shape was another tangent of interpretation from the eruption sight, the three pronged trident shape was lifted from the top half of rock art depiction without virtually any further artistic embellishment on the part of ancient artists. Perhaps the most famous mythological figure associated with a trident is the Greek god Poseidon the brother of Zeus.

In myth we are told the trident of Poseidon ‘stirred the waters to fury’. An ocean impact by a large asteroid would most certainly ‘stir the waters to fury’. Furthermore we are pertinently told Poseidon is associated with earthquakes which given the mushroom cloud impact identity of the trident he holds makes corroborative and contextual sense. Other Gods besides Poseidon also carried tridents including the Sumerian Goddess Inanna, The Hittite god Teshub, the Akkadian god Nergal, the Indian god Shiva and a Babylonian deity depicted below holds a trident image.

I will now return to the original schematised rock art form. While most deities were adapted to visually configure in form with the up-raised armed interpretation from the mushroom cloud eruption sight there was another variation of interpretation. Some ancient rock artists, no doubt caused by mitigating effects of light and shadow, did not draw the shadowed underside of the eruption cloud but instead drew the curved outline top of the mushroom cloud canopy. By choosing this visual interpretation when the eruption spectacle was schematised to its bare single line form it resembled a rock art figure form with ‘drooping arms’ as opposed to the other ‘up-raised arms’ visual interpretation.

The God Baal-Hadad was a Chief Semite god worshipped by the Canaanites and cognate in origin with the earlier Syrian god Adad. Below right is an ancient artist’s depiction of the god Baal Hadad. It clearly has the appearance of a figure form that is derived from rock art. As outlined in this case the artist has depicted the curved outline top of the eruption cloud and not the underside and so appears not as an upraised armed deity but as a ‘drooping armed’ interpretation. I believe it is at once clearly apparent that the bow-legged, long phallus form of Baal- Hadad below is an image that the artist has derived and ‘lifted’ from the bow-legged stance of the rock figure form I believe represents a schematization of an asteroid impact spectacle.

Baal is depicted here holding a club I believe to act as a visual metaphor for the striking earthshock felt by the ancients when the asteroid impacted and the eruption form his figure represents. The star-like flash depicted between his horns represents I believe the eruption fireball sight.

Pertinently Baal Hadad was known as the ‘Thunderer or Crasher’ who ‘convulsed the earth, shook mountains and blasted trees’, a clear reference I believe to the earthshock and destructive blast wave power of the impacting asteroid. He was a god of storms and rain, which if a large impact had occurred, would certainly produce weather commotion on a grand scale and resulting downpours of rain. All epithets that very much sound like the effects from a large asteroid impact which corroborates in context I believe to what his actual impact configured figure form depicts.

I believe then the ancient artist here has used the basis of earlier rock art imagery to depict what he believed the God Baal-Hadad to look like and we can view this as the direct assimilation of what was initially a rock art figure form into mainstream archaic religious iconography and then worshipped by succeeding generations in awesome reverence for the asteroid impact god he is.

Below is an ancient depiction of the Semite God Yahweh and his consort Asherah.

The forms of Yahweh and his Asherah look at first glance decidedly strange but what is obvious is that they clearly derive from and both portray, like the God Baal-Hadad previously featured, the same ‘drooping armed’, bowlegged stance, long phallus image characteristic of the rock art imagery I have detailed and believe is a schematisation of an eruption spectacle of an impacting asteroid.

This particular image is significantly important in the context of impact evidence for it was an image that was depicted by a lay person, almost in the form of a doodle, outside the structure of organised, religious directed artwork of that time. This is what the ‘common man’ of the time believed Yahweh to look like. The fact that Yahweh is portrayed like the form of Baal Hadad is understandable for Yahweh is believed to be either a variation of this Canaanite god or his father the chief Semite god El, that the name Israel itself ‘means ruling with El’. Yahweh, like Baal Hadad, was a storm god, an epithet I believe that echoed from the time the weather went haywire from an impacting asteroid and super – cyclonic weather swept out from the impact site.

In the microcosm of this example this is exactly what other ancient artists did when wishing to depict their various religious deities. They turned for artistic inspiration from earlier rock art forms. Rock art they knew was associated with the earth shaking commotion from an asteroid impact, eruption sight.

While the depiction of the eruption sight was schematised by many ancient rock artists to just a half arc or underline shape to define the outline of the mushroom cloud canopy due to the effect of light and shadow cast by the brilliant glare of the blazing fireball within the cloud there were also those ancient artists who depicted the whole outline of the mushroom cloud, column spectacle.

So while some early religious artists adopted the schematised rock art ‘upraised armed’ shape from the mushroom cloud eruption sight to become the template basis for their deity depictions other artists choose to use the whole mushroom cloud outline shape as the basis of their deity representations. To visually approximate that mushroom cloud canopy shape with the human form they purposely portrayed their deities with their arms in a bent elbow stance, hands clasped in front of them. Thus adopting such a stance it then defined an angular outline of the mushroom canopy cloud sight to the viewer of such deity imagery. Heads were added atop the cloud form to complete the human like persona.

It is this ‘bent elbowed’ stance from where the body attitude of ‘hands clasped in prayer’ originated from. When the believer of modern times ‘prays to god’ in this stance he is in effect adopting his body shape to become the eruption blast cloud itself.

Yet another artistic variation to convey that same full outline mushroom cloud shape was to portray their deities and idols with their arms held overhead in a clasp which defined a more rounded outline shape of the mushroom cloud sight to those viewing the deity.

In summary as the saying goes, a picture says a thousand words, and for all their various different colourful mythological written accounts, for all the debate over what such written mythology connected with each deity presented here means, and what generations of archaeologists and anthropologists have not fathomed is why such deities are all consistently visually portrayed to us shaped in the curious configured forms I have shown. What written mythological description has not told us at all is the ancients were worshipping deities that were bomb blast forms. A bomb blast form that derived I believe from the eruption sight of a large asteroid impact event. Put in simple context, ‘god to the ancients was a large explosion’. As I mentioned there is a plethora of a near past asteroid impact evidence literally staring us in the face, as is the case with these examples. But it is imagery that has been camouflaged in the religious guise of deity personas that were later projected onto the impact, eruption event. Understandably, in the traumatic circumstances, once the ancients projected personas onto the eruption event they then became hugely emotionally ensnared and psychologically fixated with such deity personas and their comprehension became effectively blinkered and sidetracked away from the fuller background understanding of the asteroid basis behind the creation of such personas. This state of emotional fixation and blindness regarding the asteroid impact basis behind our religions exists till this day.

The snake

Let us return again to view rock art imagery. Anybody who has studied rock art forms like the upraised armed, bowlegged or drooping armed figure will have noted a pattern of recurring rock art symbols are found to be depicted grouped alongside or nearby them. One of those recurring images is that of a snake.

At the moment current interpretation of the rock art scene above is framed in the ethnological context of ‘a shaman and his snake’. I believe now that I have identified the upraised, bowlegged figure form depicted here as instead the bare-line schematization of a large eruption spectacle we can now apply another more correct interpretation to the identity of the supposed ‘snake’ in these rock art depictions. Incoming large meteor fireballs leave a huge smoke trail in their wake as they plummet to the ground. Strong wind currents soon distort that smoke trail and it takes on the appearance of a weaving, ‘snake-like’ form in the sky. The ‘snake’ in these rock art depictions is not a real snake or the magical snake of a shaman but really represents the literal snake-like weaving smoke cloud left in the sky by a descending large meteor, asteroid. One must remember that some rock art was depicted after the event or recopied and the visual context of a ‘snake in the sky’ has lapsed over time and is sometimes depicted instead along the ground.

If the snake here represents the windblown, weaving smoke trail left by the falling asteroid/meteor then it makes contextual sense for the artist to depict it here alongside a figure form that is really a schematization of the ensuing large explosion and eruption sight caused from that falling meteor. Both the rock art figure form and the snake images are drawn closely together in relationship by ancient rock artists for they each visually corroborate the contextual impact relationship they share with each other.

And just as the bow-legged, upraised armed and drooping armed rock art figure was visually assimilated into early religious iconography so too was the snake for the same reason it held huge impact significance to the ancients.

Many written creation legends have a snake or serpent in their stories and in cases the snake, serpent is associated with chaos, an attribute that makes contextual sense as chaos would reign after the strike of a large asteroid and that the weaving, windblown snake-like smoke trail would be witnessed by the ancients hovering ominously in the sky over the chaos created below by such a large asteroid strike. The smoke trail snake, serpent then is usually featured in religious and mythological depiction with up-raised armed deities which as reiterated are deity images which are themselves artistic projections over the schematised outline mushroom cloud shape from the impact, eruption sight and so rightly belong in visual context with each other.

A large asteroid-meteor impacting onto the earth would create an immense earthshock, something the ancients most certainly experienced. Because the ancients were unable to comprehend and recognise what the earthshock really represented, to visually encapsulate that earthquake they chose to use images of horned animals in their religious iconography as animal ‘butting’ metaphors to visually express the notion that something like a ‘giant bull had severely butted the earth’.

Such an awesome display of earth-shaking power caused the ancients to align many deities with bulls in commemoration of the impact event. Enlil, a Sumerian creator god was aligned with the ‘Bull of Heaven’. The bull God Nandi was the mount of Indian creator god Shiva. The bull god Apis was associated with Egyptian creator gods Ptah, Osiris and Atum-Ra. Greek Zeus had a persona of a Bull. As shown the God Baal-Hadad was portrayed as a bull and his father El the chief Semite God was a bull god. The Chief Babylonian god Marduk was called the ‘bull calf of the Sun’. The Re’em or ancient aurochs bull was worshipped in Israel. The Chief Hittite God Teshub was associated with a bull. The Minoans on Crete worshipped bulls. We find aurochs and brahma bull imagery and worship in the Indus Valley civilization. Many Germanic tribes wore horned headdresses. Human kings were aligned with bulls. For gods and kings to be aligned with a bull was to be aligned with the awesome earthshaking power felt at the asteroid impact event. The rock art bull image was, like the rock art snake/serpent image, assimilated into early religious iconography and like the snake, serpent examples shown bull imagery was also associated with deities with upraised armed stances or trident images both of which were schematised images of the mushroom cloud eruption spectacle.

Perhaps the most tell-tale clue that bulls the ancients worshipped were animal imagery metaphors to convey the notion that the incoming asteroid had ‘butted’ the earth are the images of bulls with wings in religious iconography. Obviously ‘normal’ bulls don’t have wings. Wings were added to bulls to indicate to the viewer that the ‘bull’ (really the asteroid) had ‘flown down’ from the sky and butted (impacted) the earth.

The idea that the earth had been severely ‘butted’ by the asteroid was not a notion solely reserved to the likes of bulls but also crossed over to the serpent snake image. As explained the weaving smoke trail left by the asteroid fall resembled a huge snake, serpent in the sky. Because the ancients had witnessed the snake-like smoke trail of the asteroid drop down to the ground they depicted snakes with wings to indicate the ‘flight of the smoke trail (snake)down through the sky’.

Because they then experienced an almighty earthshock as the asteroid hit the earth they conceived the notion that the snake, serpent (really asteroid smoke trail) that had ‘flown down through the sky’ must have then ‘butted the planet’ and so they duly also placed horns on the heads of snakes, serpents in their religious iconography to indicate that particular impact interpretation.

The Tree of Life

Another major religious, mythological icon of the past is the Tree of Life found in many cultures and especially so in Mesopotamian religion and mythology. I believe the Tree of life in religion is a metaphoric image of the eruption mushroom cloud from that near past asteroid impact event. Below are pictures of nuclear bomb eruptions and their familiar mushroom cloud eruption shapes.

It is apparent that eruption cloud imagery above could be mis-imagined as a ‘tree’ by ancients who were not familiar, as modern man is, with large mushroom cloud eruption spectacles. That because this particular ‘tree’ (actually mushroom cloud) erupted suddenly, ‘sprouting’ as it were rapidly into the sky, it was naturally enough mis-imagined by the ancients as a very extremely ‘fertile tree’, a tree that must have been to their way of thinking, embued with extraordinary vitally to grow so fast before their eyes, so it was deemed by them to be a ‘Tree of Life’. In Western culture the most famous allusion to a Tree of Life image is found in Genesis in the Bible where it is called the ‘Tree of the knowledge of Good and Evil ‘, aligned with Adam and Eve and most significantly aligned with a snake. As reiterated the weaving smoke trail of the incoming asteroid was mis-imagined as a snake, serpent. That being the case the snake in this story is the asteroid smoke trail and therefore corroborates that the ‘tree’ in this story is the mushroom cloud image that ‘sprouted into the air’ after the snake (smoke trail) ‘had reached down to the ground’ and the asteroid had exploded.

Depictions of the Tree of Life are often accompanied by images of bulls flanking them and as reiterated bulls were chosen by the ancients as animal ‘butting’ metaphors to indicate the immense earthshock experienced when the meteor impacted. That being the case if the bulls indicate the impact groundshock then the ‘tree of life’ image they flank represents the tree-like mushroom cloud that erupted up into the air after the impact took place. The placement by the ancients of both bull and tree together contextually corroborates their visual impact relationship with each other.

The previously exampled Assyrian image below showing ‘winged bulls’, an imagery metaphor for the bull (asteroid) ‘flying down from the sky to butt the earth’, stand flanking a Tree of Life. In this particular case the ancient artists have not used a stylised tree image to represent the eruption mushroom cloud but instead have reverted back to using an old rock art image showing the eruption sight schematised to resemble a ‘drooping armed‘ figure form, a figure shape which as shown was also used as the template form of depictions of deities Baal-Hadad and Yahweh.

The face of God

As stated I believe the ancients, in a vacuum of scientific understanding of asteroid impacts and the resulting eruption spectacle, believed the impact event to be the work of a god and as I have shown depicted their up-raised armed various deities based on a rock art schematisation of the eruption spectacle. That they also interpreted the same mushroom cloud eruption sight as a tree and enshrined it as a ‘Tree of Life’. I believe that the ancients also mis-imagined another image from that eruption sight. They believed the mushroom cloud spectacle to be the face of a god. The mushroom cloud canopy was mis-imagined as the large brow of a face and the cloud column below was mis-imagined as the nose of the deity and so they took that misinterpretation and depicted it in their religious iconography adding eyes and a mouth to complete that particular facial interpretation.

There are some instances in human physiology where human eyebrows do join but they are rare. The following examples of deity faces show not only joined eye-brows and nose shapes but in most cases the artists have strived to produce an embossed look of the joined brow and nose shape to stand out from the other facial features so as to purposely highlight to the viewer the mushroom cloud shape that it actually represents and is the pertinent reason why such an embossed effect has been created.

The viewer and worshipper of such joined brow, nose deity imagery was literally viewing the impact mushroom cloud ‘staring back at them’. This visually confronting, ‘face to face’ state of affairs with their gods obviously deeply reinforced and psychologically fixated the various personas the ancients had projected onto such camouflaged impact cloud representations. A facial interpretation enabled the ancients to better view the deity as a ‘living, communicative entity’.

When the ancients mis-imagined the mushroom cloud as a face then it automatically opened the door for another visual impression to be interpreted from the sight. The erupting mushroom cloud contained the blazing fireball at its centre. It therefore would have been positioned directly in the lower middle forehead of the imagined face projected onto the mushroom cloud. The fireball was then mis-imagined in instances as another eye, a mystical eye. This then is the origin point for the famous third eye found especially in Indian religion and beloved by mystics down the ages.

In Indian myth we are told the third eye of Shiva ‘burned Kama (desire) to ashes’. The descriptive use of the words ‘burning and ashes’ in this myth make contextual sense for the ‘eye’ mentioned here is the blazing, incandescent fireball at the centre of the mushroom cloud ‘forehead’.

The ‘Waters of Primeval Chaos’

As stated I believe that near past asteroid fall had impacted into an ocean and I believe a likely candidate for the impact site was the Indian Ocean. As is well known we have various legends of a Great Flood having taken place in the past especially in Mesopotamia. If I have identified the Tree of Life as a representation of an impact mushroom cloud. That bulls associated with the Tree of Life are animal imagery butting metaphors for the earthshock of the impact event and that snake, serpents represent the weaving smoke trail of the incoming asteroid. To find we also have a legend of a great flood from exactly the same Mesopotamian ancients who used such impact metaphors as bulls, snakes and Trees of Life in their religious iconography obviously then falls into place and context . A large asteroid impact into an ocean would create an immense uplift of water into the atmosphere which would fall like an overwhelming torrent, flood of water from the sky onto surrounding human cultures.

Such a large impact would create super cyclonic weather conditions, heavy rain storms and flooding rivers adding to the impact caused deluge. A tidal wave caused by an ocean impact would also add to the watery inundation of surrounding lands. It is generally accepted that the Great Flood of Noah mentioned in the Bible is really just an adaption of the earlier Sumerian Flood tale and in some places reads almost the same flood account word for word. The Sumerian Godly pantheon had three main creator deities. One god An was lord of the heavens. One god Enlil was lord of the wind, the storm. And another god Enki was lord of the water known in Akkadian and Babylonian myth as Ea or Oannes. The main temple of Enki was at Eridu the most southernmost Sumerian city on the banks and marshy delta of the Euphrates River where it originally entered the Persian Gulf. The area has now silted up and Eridu now lies many miles from the ocean shoreline. The Persian Gulf in turn connects to the Indian Ocean, which I postulate was the ocean impact location of that past asteroid fall. Eridu was considered the first city of the Sumerian Kings and the earliest city in Southern Mesopotamia and is argued to be perhaps the oldest city in the world. Interestingly it was only 12 kilometres from the Sumerian city Ur which we are told is where Abraham of Bible fame came from.

We are told in myth that Enki lived in ‘the house of subterranean, cosmic waters’, known as the Abzu. At this point let us picture in our minds the asteroid impact event. The asteroid impacts into the ocean causing a huge uplift of water into the air. At the same moment a huge dome-like Wilson cloud appears, formed by the terrific explosive detonation. The fireball then rises up into the air within its mushroom cloud, a mushroom cloud, as explained, when schematised to its barest elements looked like a deity with upraised arms. Such an epochal, breath taking sight to an ancient observer would have left him gasping for description. He seemingly witnessed a god-like form rise up into the sky. It rose up from the ocean. It rose up from a dome like structure which itself had seemingly appeared,’ erupted up from the ocean’. The notion then formed in his mind that the dome like structure he sighted (the Wilson cloud form) was a ‘type of watery house’ that had seemingly risen up from below the ocean and from that ‘watery house’, a god-like figure form had then emerged(the mushroom cloud schematised figure form) which then rose up into the sky.

This then is the sequence of eruption events I believe that caused the Sumerians to surmise that ‘Enki lived in a watery house’. Below on the left is a Sumerian depiction of fish clad priests of Enki standing facing a type of stylised ‘Tree of Life’ image. The base of this ‘tree is distinctly dome-shaped’. I believe it represents the dome-shaped Wilson cloud form that appeared on the ocean from the initial explosion, detonation of the impacting asteroid. And the reason why the priests here are fish clad to indicate its watery association. Because the eruption cloud then rose up into the air the ancients had the notion that it ‘flew up like a bird’ and so artists improvised and stylised the erupting mushroom cloud to look like a ‘winged bird’ carrying Enki up into the sky.

Adapa was the son of Enki, and was called ‘the first man’ and equated with Biblical Adam. He was portrayed as a half fish, half man who was a priest, sage of Enki. The Sumerian word Abgallu meaning sage could be broken down into composite parts.

As outlined the huge eruption mushroom cloud that rose up from the ocean impact site when schematised to its bare graphic elements resembled an immense upraised armed man-like deity who obviously was thought of by the ancients as a ‘man/deity of great size’ associated with a ‘watery origin’. Essentially Adapa was just another persona, like his father Enki projected onto the same eruption sight.

As I have mentioned the act of Baptism is literally a religious re-enactment of this very scenario.

That the baptised believer rises up from water with upraised arms, action mimicking with his body the sight of the erupting mushroom cloud.

Ceremonial washing areas in the Abzu temple of Enki and Adapa at Eridu were later adopted as tanks of holy water in Babylonian and Assyrian courtyards which were also called Abzu and most probably the basis behind Islamic washing pools in Mosques and the baptismal font in Christian churches. As stated the Sumerian entity Adapa is compared as a prototype of Biblical Adam. In legend Adapa is gifted great intelligence but when offered the gift of food from the Sumerian creator god Anu declines it and in doing so loses the gift of immortality, a theme of food and loss of immortality that is closely echoed in the Genesis tale of the apple, Adam and Eve. Considering that Abraham lived very close to Eridu in Ur and must have been very conversant with such Sumerian legends one must suspect that this tale, like the Sumerian Great Flood account, has been adapted and refashioned later into Hebrew myth. In legend Adapa was thought to have come to Southern Mesopotamia from the land of Dilmun, thought to be Bahrain, further south in the Persian gulf and in the direction of the Indian Ocean where I believe the impact took place and so logically from the direction where the first impact inspired mythologies would have coalesced into being.

The depiction below shows Enki leaping into the air with upraised arms below a winged disc. As outlined his upraised armed form equates to the schematised form of the impact mushroom cloud sight. As mentioned the ancients imagined the rising mushroom cloud (the form of Enki) to have ‘flown up into the sky’ and the artist has purposely drawn his lower legs in a leaping motion to further visually indicate he has ‘left the ground and has risen up into the air’. Winged entities are further placed either side with Enki to also visually reinforce the idea of the ‘flight of the mushroom cloud’ Enki’s body form represents. The disc image above the head of Enki is I believe an image of the rising fireball which was also imagined by the ancients to have ‘flown into the sky’ and so given wings to visually indicate its upward flight to the viewer. This winged disc representation of the sight of the uprising fireball is found in many cultures in the Middle East and Egypt.

Flanking Enki are two upturned pots of water which pour down into two pots below which are artistic stylizations to visually indicate the fallout of water from the sky his impact mushroom cloud shape was responsible for. The two winged deities above and the Assyrian winged deities below hold pails indicating the upraised armed form of Enki and the stylised Tree of Life below (really a tree shape interpretation of the mushroom cloud) was responsible for pouring water down onto the populace from the ocean impact upheaval causing the Great Flood event.

As mentioned we have the male sea god Enki who was lord of the Abzu or subterranean watery abyss, the abyss alluding I believe to the impact site and crater itself. But feminine genders were also interpreted from the same impact, eruption event. We pick up the threads in later Akkadian legend which tells us in (Sumerian) creation myth the primordial goddess Tiamat mated with Enki or his watery Abzu and she is described as a goddess of chaos, as ‘the shining personification of salt water who roared and smote in the chaos of original creation’. Such ‘shining’ description equates I believe with the sight of the blazing fireball, explosion. Her ‘roaring and smoting’ equating to the tremendous sound of the explosion and the shattering effect of the concussion, blast wave. The’ salt water chaos’ associated with her describes the upheaval of water from the subterreanan Abzu or abyss, The abyss referring I believe to the crater caused by the sea impact of the asteroid. Pertinently we are also told she created dragon/ serpent monsters. The dragon/serpent here alluding to and representing the weaving snake-like smoke trail of the incoming asteroid which had impacted into the watery Abzu-abyss(crater).

The primeval chaos, upheaval of water from the ocean impact and a serpent are themes that are repeated in other mythologies. In the North-Western Semite mythology of the Canaanites we are told the god Baal battled his sea-god brother Yam and his pet serpent Lotan, also called leviathan in the Bible. To someone viewing the colossal uplift of seawater from a large impacting asteroid but has no idea or knowledge it was caused by an impacting asteroid it will naturally seem as if the ocean has suddenly erupted in a raging turmoil of unrestrained violence. The bewildered Semite ancients then invented the sea god Yam to explain and attribute that chaotic ocean upheaval caused by the impact. What they also saw in the same spectacle was the weaving, snake-like smoke trail of the incoming asteroid reaching down from the sky to the impact site whereupon the ocean had suddenly erupted in huge commotion. So they, like the serpent associated with Tiamat in Sumerian creation myth, imagined the asteroid smoke trail to be a serpent, named Lotan (leviathan) and because it had reached down to the ocean which then violently erupted they conjoined the serpent in myth with the sea god Yam who was thought to have caused the ocean upheaval and framed the serpent Lotan (Leviathan) in the context as the ‘plaything, pet’ of Yam.

As I have shown the form of the god Baal-Hadad is actually based on a rock art schematisation of the eruption sequence spectacle. So when the resulting Wilson cloud appeared and mushroom cloud erupted up from the watery commotion chaos of ‘sea god Yam’, the ancients then projected the persona Baal onto that mushroom cloud sight. So the ancient Semites had effectively differentiated and created three separate deities from the one, same impact event. The incoming smoke trail became Lotan(leviathan),the impact upheaval of ocean became Yam, and the resulting mushroom cloud became Baal. Because the impact explosion was understandably an enormous violent conflagration they invented the notion that a ‘giant fight, battle’ had taken place between the three differentiated deities. That Baal (the mushroom cloud sight) fought his sea god brother Yam (the ocean upheaval sight) and his serpent Lotan (the incoming smoke trail sight).

The Sumerians and the Semites were not alone in differentiating separate deities to represent the varying physical aspects of the impact eruption event. And in instances then projecting the notion of a giant fight, conflict, or commotion had taken place between those related deities. It is from these differentiated circumstances that whole pantheons of gods and goddesses were created from the one same impact event in ancient times.

As stated the chief Greek god Zeus carried a thunderbolt, the imagery of which represented the conjoined schematised eruption sight of the Wilson cloud and mushroom cloud. The brother of Zeus was Sea God Poseidon whose trident symbol as explained was taken from the top half of the schematised eruption spectacle which told in myth ‘stirred the waters to fury’, description which would clearly describe water upheaval from an asteroid ocean impact. Poseidon was also a god of earthquakes which makes contextual sense if his ‘trident’ shape represents a meteor impact mushroom cloud. We are also told that brother of Poseidon Zeus battled the serpent Typhon. So we find in Greek myth the same corresponding impact imagery elements of ocean upheaval and serpent description as we find in Sumerian and Semite myth.

Turning to Egyptian mythology we find the serpent deity Apep who was also associated with ‘the waters of primeval chaos, equated with storms and earthquakes’ and was the arch enemy of the creator sun god Atum-Ra. Again such description aligns with similar serpent, chaotic water upheaval description found in the Sumerian, Semite and Greek legends already outlined. Apep represents the snake-like smoke trail of the incoming asteroid. The ‘waters of primeval chaos’ represent the upheaval of ocean when the asteroid impacted. That Apep was aligned with storms relates to the extreme weather commotion caused by the huge impact. That Apep was equated with earthquakes aligns with the huge earthshock produced by such a large asteroid impact.

We are told that the serpent Apep ‘fought with the Sun god’ Atum-Ra. Obviously the idea of a serpent ‘wiggling’ his way across the vast distance of space to battle our solar sun does not make much contextual sense. But if we interpret the ‘sun’ mentioned in this myth as instead referring to the blazing, sun-like fireball, that indeed would have outshone the sun as it rose up from the impact conflagration, then it throws this myth into contextual sense. The snake-like smoke trail of the incoming asteroid reached down to where the asteroid struck the ocean and exploded. The subsequent blazing fireball, rising up into the air, would have brought it into close proximity with the serpent like smoke trail still hanging in the sky above and the awestruck ancients assumed from this epochal spectacle that the ‘sun (really fireball) was ‘rising up to battle the serpent’ (really smoke trail). This circumstance applies for other myths concerning ‘serpents battling the sun’.

As reiterated the impact event was scientifically uncomprehended by the ancients. Without any basis of scientific parameters or constraint some ancient cultures completely over-embellished the description of the impact event with fantastical hyberbole and deity persona inventions so that over time compiled mythology that eventually bore no recognisable context to an asteroid impact event at all. We can only pick out and read between the lines of such convoluted mythologies recognisable known aspects of an ocean asteroid impact event and to piece such jigsaw impact clues together. One such myth is the ‘Churning of the Ocean’ in Hindu mythology. Two warring parties, the Asuras and the Devas, under the auspices of elephant riding Indra, the god of Thunder, Rain and War, and who is also identified with a bull, ‘churn the ocean using a huge serpent for control of the universe’. The Asuras demons we are told are poisoned by the vapors coming from the serpent’.

So if we examine this colourful description we have description in this myth to chaotic, churning water upheaval, a reference I believe to the asteroid impact induced upheaval of ocean. A description of a serpent, a reference to the incoming snake-like smoke trail of the asteroid. A description of poisionous fumes, a reference to the overpowering explosive fumes that would have surely been produced by such a gigantic impact explosion. The god Indra was aligned with a bull and as outlined bull gods abound in especially Middle Eastern Mythology, the bull being a butting animal metaphor for the enormous groundshock produced by the asteroid impact. In India and other Eastern countries the powerful elephant was also chosen as an animal ‘butting’ metaphor to represent the mighty groundshock of the impact event. That Indra was a god of Thunder and Rain is a reference to the cyclonic weather and downpour of rain resulting from the impact, equating to the weather commotion and Great Flood Legend in Sumerian myth.

The ‘Churning of the Ocean’

In summary I have exampled a few myths which I believe show tell-tale signs of a past asteroid ocean impact event. That a common recurring theme aligned with such ocean upheaval description in these myths is that of a serpent, a serpent I believe based on the very real sight of a windblown, weaving smoke trail left by a large incoming asteroid impacting into the ocean. As reiterated the ancients did not scientifically understand the impact event and could only turn to using metaphoric imagery to try to explain the different physical aspects of the strike.

I have shown in cases that the ancients differentiated the different physical aspects of the strike and then projected deity personas’s onto each aspect. On one hand this satisfied the immediate need of the awestruck and traumatised ancients to understand the impact framed in the context of the personal involvement of omnipotent beings but on the other hand the disguising of the impact event behind the creation and invention of deity persona’s has effectively camouflaged and sidetracked our modern day comprehension of that past large impact event. We look back at such myth and read of the ‘primeval chaos of the waters of creation’ juxtaposed with serpent description and imagine it is just purely metaphysical, poetic invention on the part of the ancients when in fact it is based on very real events. Understandably as the myth has been passed down from generation to generation context has lapsed in many cases and over-imaginative minds have added embellishment to such mythic storylines that further distort and hide the truth that a major large asteroid impact has taken place in our near past.

The Mother Goddess

Because of the earth shattering violence of that past asteroid impact the gender interpretation of deities invented and projected onto the event was generally deemed masculine especially with the uprising path of the fireball inadvertedly rendering the schematised rock art figure form with a phallus like appendage. But anyone who has studied the ancient past will know that one of the prime icons of ancient religious worship was that of the Mother Goddess. I believe the Mother Goddess is another iconic creation derived from imagery interpretation of the same asteroid impact, eruption spectacle. As reiterated the impact detonation begins with the sight of a huge dome-like Wilson cloud shape. As stated the Wilson cloud then dissipates from view as the fireball rises up into the sky within its mushroom cloud. It is in that moment of time when the eruption cloud initially breaks upward from the Wilson cloud form before it assumes its full mushroom cloud shape that is the visual origin point of the Mother Goddess image. And another instance where those two eruption sequences were later joined together by ancient artists to form one composite imagery invention.

With the two eruption sequences joined together the visual result was that of a very familiar form to the ancients. The dome shape of the Wilson cloud was imagined to be the large hips of a woman. The mushroom cloud above with billowing breast like protrusions was imagined to be the upper torso of a female form. Thus from this visual circumstance the Mother Goddess image was born.

While a Mother Goddess conjures up a very idealised feminine form initial mother goddess idol representations were very visually coarse unfeminine images. They were squat, armless and legless, with grossly large hips, buttocks and shoulders topped by an indistinct head sitting on a very unlady-like thickset neck. Their grossly distorted obese body shapes were not I believe based on human female forms but ancient artists were purposely distorting such human features to try to follow and capture the squat woman like figure form they imagined from the eruption spectacle.

That would explain why such figurines have no arms or legs or facial features for there were no arms or legs or heads in the eruption spectacle.

Legs have been added to this Black Sea figurine below but as you can see an abrupt line bisects where they drop from the squat female like torso. I believe the artist has purposely used this line to demarcate and visually show to the viewer that the legs are a clear artistic ‘addition’ to the torso above. That while no legs were sighted in the eruption spectacle as time passed the circumstances from which the goddess originated were lost on succeeding generations of artists and so they began to add features like legs to better accommodate the human persona they had projected on the core eruption sight.

Not realising the image they copied afresh to continue its worship was based on a eruption blast form and not a real female form at all they unwittingly, but understandably, introduced further feminine characteristics to their idol representations including adding legs to the core mother Goddess image as the artist has done above.

Yet another type of Mother Goddess figurines have usually long necks. The answer is quite simple. Although the ancient artists captured the ‘squat female form’ from the initial eruption sequence the eruption cloud went on to rise higher into the sky taking on its familiar mushroom canopy shape. That being the case some artists faithfully juxtaposed the end part mushroom cloud eruption sight onto the earlier squat Mother Goddess body and so the visual result was mother Goddess’s with long necks.

As outlined the schematised upraised armed, bowlegged rock art figure form was incorporated into religious iconography, deity personas were projected onto the image and worshipped. Over time the original bowlegged rock art form was reinterpreted as the hips of a female and so this other line of visual reinterpretation from the same eruption spectacle also became used as the basis for Mother Goddess iconography.

As time passed succeeding generations of artists ‘fleshed out’ the initial schematic rock art image and gave it increasingly human characteristics, in part due to the increasingly naturalistic skills of the temple artists who produced such religious imagery. Obviously as such imagery became more humanized its real eruption basis became increasingly disguised and camouflaged to later generations. They only knew such imagery held great religious significance to their forbears and continued to reverently worship such iconography. If we turn to myth we read that Anat, pictured above, was a war goddess who ‘slaughtered many and waded in the blood of her enemies’. If her image subliminally represents and projects the eruption form of a large asteroid strike it is only natural that her characteristic attributes would align with the death dealing destruction such a large impact would incur on the population and so she is duly identified with human slaughter in myth.

As we know the mother goddess is mostly identified with motherly characteristics, of love and tender nurture. But because she also represents a death dealing impact of great destruction some races, to reconcile such extreme opposing characteristics, created deities with split personalities or more than one persona to accommodate that dichotomy. The Hindu Goddess Devi has two main apects. As Devi, Uman, Gauri, Parvati she embodies the tender mother goddess, lover persona. As Durga, Kali, Chandi, and Bairavi she embodies the fierce,warring, bloodthirsty virago, attributes that relate to the death-dealing aspects of the asteroid impact. The wife of Scandinavian God Odin also had a dual personality. As Frigga she was the tender mother persona and as Freya, the warring virago. In the Bible Adams wife Eve represents the tender mother goddess but we are told Adam had an earlier wife Lilith who was a succubus and virago, another instance where more than one deity was created from the same eruption event to each accommodate and represent the extreme dual personality characteristics of deities the ancients imagined and projected onto the eruption event.

The Father God

I believe the notion of God, the Father, derives from yet another line of interpretation from that past asteroid impact, eruption spectacle. Below are two photos showing mushroom clouds from early US nuclear bomb tests. I believe it is quite clear and apparent that the smoky columns and ‘knobbed’ mushroom cloud canopies in the photos can be construed and described as ‘phallus-like’. And because such imagery erupted up into the sky it could be construed as a phallus ‘erecting into the sky’. This then is an exactly similar sight I believe the ancients witnessed and so while some interpreted a ‘Tree of Life’ from the sight others came to a phallus conclusion regarding that past asteroid impact, mushroom cloud eruption spectacle.

Having placed a phallus interpretation upon the erupting mushroom cloud from the asteroid impact when the huge torrent of uplifted sea water from the impact and impact caused rain storms fell upon the surrounding lands it was imagined by the ancients as being heavenly ‘semen’ from the phallus shaped mushroom cloud they had sighted.

The Sumerian word for water was the same word for semen. An alignment of meaning I believe that stemmed from these exact impact circumstances. That the water fallout from the asteroid impact was mis-imagined as semen by the Sumerians. We are told in Sumerian myth that Enki, as outlined being the creator Sumerian god of water, ‘impregnated goddesses and the land with his water or semen’, that ‘he filled the ditches of the land with his semen’. Description which till now has being a curious, mystifying scenario to investigating mythologists. Such description is evidently talking of a metaphysical concept and not real flesh and blood accounts of literal human semen and makes contextual sense I believe when we apply an impact senario to such myth.

John Allegro was a prominent British linguist of early Mesopotamian languages who was chosen to be on the international team of linguists to decipher the Dead Sea scrolls in 1953. He later went on to write ‘The Sacred Mushroom and the Cross’ a book which detailed how that metaphysical ideal of semen-water fertility played an underlying part of early religion right across the Mesopotamian region and that its concept started in Sumerian creation myth. He writes that the likes of the name etymology of Zeus and Jehovah both derive back to Sumerian origin having the meaning of ‘Juice of fecundity, spermatozoa, seed of life’. That the name of Sumerian storm god Iskur has a meaning of ‘mighty phallus’. That the most forceful spurting of his seed of life was accompanied by storm and shrieking wind. This description makes contextual sense as it derives I believe from both the impact produced blast wave and the extreme stormy weather conditions created by the asteroid impact that would have been concurrent with the fallout of water from the skies , viewed as heavenly ‘semen’ by the Sumerians ejaculating from their mighty phallus storm god Iskur. Because of the immense impact significance behind this particular phallus aligned association it was enshrined as a religious absolute by the ancients and as time passed the one-off ’semen imagined fallout’ from the impact event was later transposed, over-layed onto the cycle of nature and applied to the yearly fertile invigoration of the land. That each rainy season it was imagined as heavenly sperm from the phallus Father god fertilising the soil, seeds, and plants. As each rainy season drew near or especially when drought conditions threatened the ancients would invoke their god to send his heavenly ‘sperm’ (rain) upon the land just as had happened at the time of the asteroid impact.

As outlined the ancients mis-imagined a woman form from the initial stages of the eruption spectacle. But as you can image that woman form was only one part, a freeze-frame snapshot of the wider sequence of the unfolding eruption sight. As the initial dome shaped Wilson cloud dissolved from sight, and with it the wide hipped looking woman form, the erupting blast cloud column rose further up into the sky taking on its ‘knobbed’ mushroom cloud canopy appearance and was at that point visually imagined as a mighty phallus erecting into the heavens by the astonished ancients. When the ancients had time to regather their senses they came to the notion that they had witnessed a type of heavenly copulation had taken place in the sequence of that eruption spectacle. That the erecting phallus like mushroom cloud sighted at the end of the eruption sequence had sexually penetrated the imagined woman form sighted earlier in the initial eruption sequence.

As stated the Sumerian sea god Enki was described as having impregnated goddesses with his water (or semen). This description makes contextual sense when we realise the ‘phallus’ (end stage mushroom cloud sight ) he uses to impregnate them with rose up from the ocean (impact site) and that the woman form he seemingly impregnated also appeared on the ocean surface (the initial eruption stage woman-like form). That water fallout from the impact poured from the sky after having viewed that imagined heavenly sex act reinforced to the Sumerians the idea that semen was connected with water for they saw the two elements as intrinsically connected. So not only did they believe that Father God (the phallus interpreted mushroom cloud)had fertilised the land with the fallout of his ‘semen’(water)but that he also sexually impregnated the ‘mother goddess’ form with his semen (water)in the sequence of the eruption spectacle. And so these dual sexual fertility themes became a core religious notion setting the basis of human sexual fertility themes aligned with agriculture fertility that is found in many primitive, pagan cultures.

Turning to other myth The Hindu Trinity consists of Brahma, Vishnu and Shiva. We are told that creation begins with Vishnu floating on his ocean resting on his snake and that a lotus sprouts from his naval which is Brahma. In another instance when these Creator gods Vishnu and Brahma argue about who is greatest, Shiva, in the form of a giant fiery lingam (phallus) appears. So if we piece these elements together we have an ocean, a snake and a fiery phallus mentioned. As I have outlined other creation mythologies contain similar ocean and snake, serpent elements. The ocean is the asteroid impact site. The snake is the snake-like smoke trail of the incoming asteroid reaching down to the ocean impact site. The fiery lingam of Shiva is I believe based on the sight of the phallus shaped mushroom cloud, with its blazing fireball within, rising up from the ocean impact and like the Sumerians the Indians also interpreted that sight as a phallus(Lingam).

Pertinently Shiva was also equated with the God Rudra who was known as ‘the god of the roaring storm’. As outlined the Sumerian God Iskur whose name had the meaning of ‘Mighty Phallus’ was also a god of storms and as reiterated cyclonic weather and violent storms would most certainly be generated by the impact of a large asteroid. As mentioned the trident was also a symbol of Shiva. As I have outlined the trident shape is taken from the top half of the rock art figure form which represents a bare line schematic interpretation of the mushroom cloud eruption spectacle.

In one Egyptian creation myth the sun god Atum-Ra is described as ‘a phallus rising from the ocean masturbating creation into existence’. Once again, like the fiery lingam (phallus) of Indian creator god Shiva, such curious fiery phallus aligned description has baffled mythologists. When we interpret the supposed ‘sun-god’ Atum-Ra as instead a description of the sun-like blazing fireball within a phallus shaped mushroom cloud erupting from the ocean impact this creation tale is then thrown into understandable context and that like the Sumerians the fallout of water from the asteroid ocean impact was mis-imagined by the Egyptians as ejaculated semen fertilising creation from the phallus-like mushroom cloud.

In the Semite, Canaanite creation tale the chief god El impregnates two women near the sea foreshore. I believe once again we have yet another creation tale associated with the ocean and that the act of copulation in this tale I believe derives from the sight of the phallus-like mushroom cloud that had seemingly penetrated the earlier woman-like form in the ocean eruption spectacle.

Furthermore the mythic wife of El is Athirat (also called Asherah) and she is called ‘she who treads on the sea’. As reiterated a woman form was imagined to have been seen in the early stages of the eruption spectacle and because her woman-like eruption form appeared on the ocean it was imagined in hindsight by the ancients that such a wondrous woman sighted on top of the ocean must therefore have had the capacity to ‘walk on water’ and so the myth evolved.

In Greek mythology the phallus of Father god Uranus is cut off and thrown into the sea where upon the Goddess Aphrodite rises. Her name having the etymology of ‘sea foam’ which makes contextual and corroborative sense, her woman-like body being sighted as part of the eruption spectacle from the ocean impact. I believe a case of inversion has taken place in this particular myth. That in the retelling of this myth they have changed the eruption sequence around. As I have outlined a woman-like mother goddess form would have been sighted first in the earlier sequence of eruption (the Wilson cloud and the initial emerging blast cloud form) then next in sequence the phallus shaped mushroom cloud would have then risen into the sky. The Greeks swapped the sequence around and had the phallus of Uranus mentioned first and then the rise of mother goddess Aphrodite from the phallus of Uranus. As I have reiterated one must remember and consider that such myths have been handed down hundreds if not thousands of years in some cases and that over such long periods of time context has understandably lapsed and become corrupted in some of those myths.

Mother Earth, Father Sky.

As stated in many creation stories there are recurring basic elements. That there is an aspect of chaos and in many instances that chaos is associated with water, the ocean, the site I believe of the impacting asteroid. We are told in many myths that the sky or heaven separated from the earth or another sense is that ‘Earth Mother’ goddess separated from ‘Sky Father’ god. This description of creation gender separation derives I believe from the impact, visual eruption circumstances I have outlined. That in the initial eruption sequence a woman, ‘Mother Goddess’ form is sighted. As her form dissipates the erupting, ever rising blast cloud then takes on the form of a mushroom cloud which to some ancients looked like a ‘phallus shape’ erecting into the heavens. From these visual circumstances the phallus mushroom cloud form was imagined to ‘have split, separate’ from the woman, Mother Goddess form below. The ‘Mother Goddess’ eruption blast form was therefore imagined to be tied to the earth, an ‘Earth Mother’ and her husband, the phallus shaped mushroom cloud that had risen up high into the heavens was imagined then to be a Father ‘Sky god’.

This separation of male and female elements, derived from this asteroid impact, eruption spectacle, set the stage for the later introduction of a mythic plethora of sons and daughters to be added to the initial creation event and the establishment of family pantheons of divinities. In a sense mythology to the ancients was like the genre of Science Fiction is to modern mankind. Wonderfully invented, entertaining writing but loosely based on real scientific principles and the real scientific principle behind such ancient mythologies, its invented deities, was a large asteroid impact event.

In summary

As mentioned in the start of this essay there are many clues of a large near past asteroid impact literally staring us in the face. But for the most part they are clues that are camouflaged within mythology and early religion. Visual clues that have their origin in rock art imagery. When we view such impact clues we are looking back over a long period of time at them, clues that have been embellished and overlayed with mythological invention. Over countless retelling of those myths new personas and angles to the impact have been added on. Different emphasis and context has crept into disguising those impact clues, some myth became so distorted that it holds no impact clues and is merely invention, fantasy built on fantasy. As outlined when the ancients projected differentiated god personas onto various aspects of the impact, eruption event they became emotionally and psychologically ensnared by such godly personas and we are still to this day in the grip of such mythological, religious inventions. We have to put such metaphysical invention aside and perceive the background impact elements upon which it lies. The primeval waters, oceans, the serpent, snake gods, the bull gods, the Tree of Life, the water gods, the sun-fireball gods, the phallus gods, the storm, cyclonic weather gods, and a tale of a great overwhelming flood, all imagery elements that derive from real ocean asteroid impact description. That such an impact hypothesis would provide a bridge between the polarized viewpoints of religion and science. Science would realise our myth, religions have been cloaking but also signposting a huge scientific truth and religions conversely would come to realise that their formation was due to a rare cosmic impact event. That while we learn more about how much space debris is out there and the potential for possible further impacts is we are still ‘riding the effects’, as it were, from a large impact event having taken place in our near historical past. A large impact that incredibly, we have been blind to.